The seven songs on Out of Africa, their first full-length, are reminiscent
of the golden hits from the 1990s Touch and Go or Amphetamine Reptile catalogs, tweaked out on the exhilarating paranoia typical of America in the
early aughts. Distorted vocals, oscillating bass lines, and jittery guitars form a nervous, seasick swath over the plodding drums.

Featuring AT veterans Larry Boothroyd of Victims Family
on bass and John Geek of Fleshies on vocals; other
members were in Bottles and Skulls and
Lower Forty Eight, "Out Of Africa" was recorded with Kurt Schlegel, the Melvins' engineer, at
his Lucky Cat Studio!

The LP comes with a CD included for easy digitalization & is on WHITE VINYL!

"The Triclops! version of punk rock destabilizes preconceptions with every twisted minute. Best live band in San Francisco? Provided you like your music unpredictable, aggressive, and
more than a little bit threatening!"- SF Weekly

"Super proggy acid-punk ... breaking down into some surprisingly
melodic pop, before getting heavy and crazy.... For anyone
that's been missing that old 90's Touch and Go/AmRep sound, or
people that just love proggy flipped out PUNK RAWK, this is
definitely recommended."- Aquarius Records

"It's hard to define what qualities secure a band's position on Alternative Tentacles. The most successful independent labels tend to stick to a niche audience, appealing directly to the people who snatch up the label's newest releases based on the pedigree they've curated. But Mr. Biafra's life's work tends to appeal to genre-modding bands whose music is generally forward-thinking and not quite easily approachable.Enter Triclops!, an array of well-accomplished Bay Area musicians from Bottles and Skulls, Fleshies, Victims Family and Lower Forty-Eight. Trying to describe the music made by these four musicians is difficult. I can say that it fits nicely next to Jello Biafra with the Melvins releases.Triclops! takes punk songs and runs them through a meat grinder of precision polyrhythms, digitally effected vocals, swarming chord progressions and gut-wrenching riffs and dizzying loops. The overall effect is disorienting, captivating.
Though the general song length runs close to six minutes, and the band does feature precision instrument work and a high range of vocals, I wouldn't put them near Rush territory, though the band's attack is dangerously reminiscent of prog-rock.The band members play like musical mercenaries, hired to commit war crimes and executing their direct orders with shameless efficiency. The guitars are constantly running through augmented scales over frantic but controlled drum fills. But what cements everything are the piercing vocals, run through different amps and distortion settings, sounding like a voice breaking through dimensional barriers on the album's shining opener "March of the Half-Babies."
The best interpretation of the music, however, could be an examination of the album's artwork by Lee Harvey Roswell, on display in full as the band's Top 8 on their MySpace page. Featuring centaurian beasts stacked on top of each other, wearing white gloves and clown noses, ripping into the fabric of reality with their hooves, holding the sun as a balloon tied to an umbrella handle and suckling the teats of the one of top of them, the artwork is all at once disturbing, surrealist, absurdist and awe-inspiring. You can't explain what it is without being able to show it to someone, and the same holds true for their music."- punknews.org